A Idade da Terra (1980)

User Rating:

7.0/10   

Director:

Glauber Rocha

Writers:

Castro Alves (poem)
Glauber Rocha (screenplay)

Release Date:

17 November 1980 (Brazil)

Cast

Maurício do Valle	...	Brahms
Jece Valadão	...	Indian Christ
Antonio Pitanga	...	Black Christ
Tarcísio Meira	...	Military Christ
Geraldo Del Rey	...	Revolutionary Christ
Ana Maria Magalhães	...	Aurora Madalena
Norma Bengell	...	Amazon Queen
Danuza Leão	...	Brahms' Wife
Carlos Petrovicho	...	Devil
Mário Gusmão	...	Babalaô
Paloma Rocha	...	Young Woman
rest of cast listed alphabetically:
Carlos Castelo Branco	...	Himself
Tetê Catalão
Vanderley dos Santos Catalão
Adelmo Rodrigues da Silva
Amaro Santos da Silva
Jorge Henrique Tosta da Silva
José Justino da Silva
Ari José de Oliveira
Marly Viana de Sousa
Raul de Xangô
Maria da Conceição Bispo dos Anjos
Albertino dos Santos
Rogério Duarte
Telma Duarte
João Antonio de Lima Esteves
Paula Gaetan
Maria da Glória de Meneses Gelto
Luiz Carlos Lacerda
Gerard Leclery
Fernando Lemos
Wanilda Silva Machado
João José Miguel
Dimer Monteiro
Clyde Morgan
Davi Antonio Neto
Ary Pararraios
João José Prazeres
João Ubaldo Ribeiro
Alexandre Ribondi
Sandoval
Romário César Schettino
Janduir de Lima Soeiro
Glória X
Laura Y

Also Known As:

The Age of the Earth

Runtime:

140 min

Country:

Brazil

Language:

Portuguese

Color:

Color | Color (Eastmancolor)

Aspect Ratio:

2.35 : 1

Sound Mix:

Mono

Filming Locations:

Brasília, Distrito Federal, Brazil

Company:

C.P.C. Cinematografica

Quotes:

Brahms´ Wife (Danuza Leão): Tyrants are always good at bed.

An Intense Psycho/bacterio/logical Experience

Glauber Rocha was once-upon-a-time a very famous man. A key figure in world cinema. Friends with Bernardo Bertolucci, Pier Paolo Pasolini, Jean-Luc Godard, Jean-Marie Straub, an influence on film-makers as diverse as Martin Scorsese, Jonathan Demme, Amos Gitai and countless other film-makers. Today he's practically forgotten by most. His films rarely mounted as a retrospective, inspiring few articles on his rich and complex filmography.

What does it mean to be a fiercely provocative and openly formal film-maker of the "Third World". Most films from this vaguely defined economic sector of the planet that find a Western audience cater to the paternalism of the world hegemony, excorcise liberal guilt and work in schemas every bit as conventional as the worst sitcoms. With Rocha, you get fierce, cutting, vital celebrations of folk poetry, hymns to the landscape of the country that he loves so very much and a challenge to conventional film-making in Brazil and the rest of the world. His career as a film-maker suffered from problems of funding, common enough, and even moreso from the fact that his country underwent a collapse of it's democracy which was replaced with a military dictatorship. This led to exile, a stint working underground and in short films.

This context makes THE AGE OF THE EARTH(A IDADE DA TERRA) all the remarkable for it's very existence. It's shot in CinemaScope, 35mm and was highly expensive and ambitious. It was his last film, he died shortly afterwards and it's perfectly clear from the stunning first take(no titles opening and credits) that he isn't going gently into the night. He's playing for keeps and taking no prisoners. The film's length of 2 and a half hours befits it's truly epic length.

Rocha's style of film-making challenged conventional film-making norms in a way that was totally unique. By no means a minimalist, he created a bold intense style of film-making that featured rich, saturated, loud soundtracks with eclectic music arrangements(cf, the opening of TERRA EM TRANSE) mixed with a tight emphasis on framing and long takes mixed with some of the most intense montage since Sergei Eisenstein's death. Stories matter even less in Rocha than they do in Godard. It's focus is in sculpting a particular vision of landscape, of folk rhythms and rituals.

THE AGE OF THE EARTH begins with a long tracking shot of the sun rising on the President's Palace in Brazil, slowly stretching back, recording the prism effects caused by the reflection of the sun on the lens and then a sharp cut to a rolling sphere("Action" yells Glauber offscreen) and then a frightening close-up on a very ugly mouth that yells, "My mission is to destroy this small, poor, planet earth!" The film then proceeds to a series of episodes that have vague relations to each other(it has been suggested that this film was constructed so that it could be played in any order of reels) yet at the finish of the runtime(the word ending is a fantasy in this film) it constitutes a clear whole as Rocha creates a testament of his anxieties, fears and mystical visions regarding Brazil - it's various Christs and Satans, the omipresence of Western capitalist interests and a direct statement of Glauber's own political philosophy in his own write and voice.